Notes

Program notes:

While composing the piece I thought of friction as the process of igniting. With that term I did not only mean the starting of the fire but thought in the first place of the complex relationship among musical structures: the first one influences - or even initiates - the next one. I am observing examples of friction in various dimensions of sound sculpturing: close intervals, combination tones, overlaping rhythmic patterns, multiphonics or physical way of producing sound. All of those result in further frictions among the musical recipients, creating frictions between various artistic esthetics as well as those between composers and critics. As well as composers are motivated of being creative the critics are equally eager of projecting their own knowledge into the music they are exposed to. Try to imagine a musical work depicting a bizzare situation in which a flamboyant artist smacks an incompetent reviewer - wouldn‘t that be a friction of the highest order?

Technical specs:

Each of the players is also required to play a pair of stones. A total of 28 stones are required for the piece.

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